On the Picture
It is a question of intervening directly on the image, literally: the documents collected become the physical support of pictorial interventions.
The intervention can act on a canvas found on a trash can, on a sculpture acquired in a glyptotheque or images torn from second-hand books, etc. In the “Dark Room”, “Tempus fugit”, “inscriptus” and “Ars Memoriae” series, watercolor painting or gouache are directly applied to boards of architecture portfolios of Parisian mansions of the early 20th century. By reserving respectively the mirrors and the clocks, and by applying with a brush a layer of watercolor on the rest of the image, the artist operates a radical change in the image for the first three series. The fourth opens a field to the imaginary and to strangeness.
